RE: instrumentally speaking
...either of Wayne Hancock's records (yeah, I know he sings, but in my mind, they still rank as instrumental albums). Hmmm. Care to elaborate? Of all the instrumental (and I'm speaking of strictly instrumental, that is, *no* vocals) albums I have, my favorite is still Bobby Hicks' Texas Crapshooter (County CO-CD-2706), a 1978 album that features a side of western swing numbers with a hot band that includes Buddy Emmons on steel guitar and Buck White on piano, and a side of bluegrass, with Sam Bush, Alan Munde, former Kentucky Colonel Roland White on guitar and the late Roy Huskey Jr. in a fairly early appearance; why, there's even some twin fiddling with Vassar Clements on it, just to make Jeff Wall happy. The version of Monroe's "Scotland" on there is three of the best minutes you'll ever spend listening to music. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Kelly Willis song comments
Excerpts from internet.listserv.postcard2: 10-Mar-99 RE: Kelly Willis song comments by "Jon Weisberger"@fuse.ne Amen. I think if she covered (You Can Put Your) Shoes Under My Bed... OK, I'm bettin' this is a different song than the great Johnny Duncan hit, "She Can Put Her Shoes Under My Bed," right? Yep. A Paul Kelly original, first recorded on his acoustic record _Post_ (1984), later done with a full band on _Comedy_ (1991). The latter record also features an enjoyable rewrite of "Dallas From a DC-9" entitled "Sydney From a 707". Carl Z.
Re: O'Rourke/Grubbs/American Music
Dan Moth makes some nice points about the Gastr boys. They're also adept at combining electronic music and classical forms into unique hybrids. Camofleur features the sampling techniques of Markus Popp, who makes music with the sound of skipping cds. I find his work as Oval pretty tedious, but the effect works wonderfully on Gastr's "Blues Entitled No Sense of Wonder". I bring up the Fahey comparison because it is the influence most obviously relevant to alt.country. O'Rourke's also worked with improv electric guitarist Henry Kaiser and produced a ton of records. The new Sam Prekop (Sea and Cake, Shrimp Boat) solo album is a nice one, featuring Prekop's indie-rock/Al Green/Brazilian guitar hybrid to fine effect. ObTony Conrad: I saw him present a film about a year ago in which he filmed Buffalo TV news crews as they taped stories. They didn't like having an independent camera shooting them AT ALL. Carl Z.
Re: twanglife after 50, 60, 70 ...
There's the whole Lubbock/Austin establishment and friends: Jimmie Dale Gilmore, Joe Carole Pierce, Guy Clark, Joe Ely, etc. lr
Re: SXSW update II
In a message dated 3/10/99 10:56:52 PM Central Standard Time, [EMAIL PROTECTED] writes: At the request of Barry Mazor, who's leaving shortly for his all-expenses-paid, staying-at-the-swanky-Omni trip to Austin, must be some kinda well-known workin' weasel! Linda
Re: SXSW update II
[EMAIL PROTECTED] writes: At the request of Barry Mazor, who's leaving shortly for his all expense-paid(etc.) must be some kinda well-known workin' weasel! Linda Naw..in my case, more like an unknown workin weasel,...you know, one more runna-the-mill ink-stained wretch with no bylines in music any more Of course, "wease"l is the highest known compliment on P2...right...? Barry Kind of liking this typing in the wee hours thing. Less typos.
Re: instrumentally speaking
Excerpts from internet.listserv.postcard2: 10-Mar-99 Re: instrumentally speaking by "Dave Purcell"@one.net Am I listening to the wrong stuff or am I just right in thinking a lot of this stuff is uninspired noodling suckage? Then Carl said I'd say the former, as much that could be called noodling (Phish, bores me to tears and I love Gastr, O'Rourke's _Bad Timing_ LP and so forth. If you don't like John Fahey (a pretty concise player to my ears), this stuff may not be for you. I'd also say listening to it on the wrong format as well. I've always thought that this type of music never really works well on the radio. I'm no expert but subtle changes to recurrent themes and also to recording levels aren't best suited to radio play, making the whole seem repetitive and tedious which it definitely isn't IMO of course. BTW just picked up the new Jim O'Rourke CD and I have to say it's the best record I've heard this year. Andy Benham Email [EMAIL PROTECTED] Tel.No. 0121 414 4126
Re: twanglife after 50, 60, 70 ...
Tom, 1) Ronnie "the blonde bomber" Dawson - haven't heard the new one, More Bad Habits. 2) D.L. Menard "the Cajun Hank Williams" - making rocking chairs when not on the road. 3) Sleepy La Beef - has been known to play non-stop for over 90 minutes, ask Tom Lewis. 4) The Hackberry Ramblers - I believe the oldest band in the country. 5) Wanda Jackson - saw her on tour w/Rosie, she was excellent. Hope this helps. Kate. I've got to write a short article about what the lives of famous or historical people looked like at later key ages, particularly after 50 (examples include: Frank Lloyd Wright, Sidney Greenstreet - even Philip Glass, who apparently was a plumber until he hit 40). Musical suggestions would be appreciated (interesting non-musical examples too, for that matter). Twang example: Don Walser Thanks!
Re: Nic Jones and John Wesley Hardin
Steve Gardner wrote: Nic Jones is really cool. Nic Jones' records are really cool, too. It's criminal that they haven't been reissued on CD. John Wesley Harding is really cool. His records are really cool, too. The combination of these two on Wes' latest CD "Trad Arr Jones" is amazing. Wes takes 11 stabs at material from Nic Jones' mostly traditional repetoire. Wes is accompanied by Robert Lloyd only on the recording. The CD is out on Zero Hour which is home of Varnaline. Varnaline is really cool, too. One of the best things about this CD is that although it is terrific, your life still isn't complete until you've heard Nic do these songs himself (and his guitar playing!) So anyways, go get this CD if you like cont.folk, trad.folk, acoustic, english or british folky popsters. Indeed Nic was really cool. I count myself lucky to have known him. The situation is, AFAIK, as follows: Nic recorded his originals in the 70s and early 80s. Early in the 80s, at the height of his powers, he was very badly injured in a car crash and suffered severe brain damage which meant he was subsequently unable to perform or work in any other way. Although I believe he has recently returned to making music as therapy he will never record again. He is now wholly dependent on his family and State benefits. The rights to his recordings were sold off when the record company went bust in the 80s and are now held by someone who refuses to re-release them on CD, or license them for release by others, other than after payment of a sum which would mean that little benefit would go to Nic. I'm told this individual makes a habit of such behaviour. The recent issue of live recordings of Nic was an attempt by his friends (Martin Carthy amongst others) to try and get some income for Nic and his family from his past work. I assume that as these new recordings by JWH are labelled 'Trad. arr. Jones' Nic will benefit from the publishing rights at least. Buy this record. Play it on your radio shows. Tell your friends to do likewise. Nic was a great performer and a great guy. He deserves our help. It should be a CD well worth the price anyway. Nic was a master of the broadside ballad. Before the old weird America there was the even older weirder England. The broadside ballads (printed sheets with songs on topical - even appalling - events, printed in London and sold throughout the country from the late C16 to the early C20) are often similar to the sort of material found on the Smith collection, songs which were popular for their oddity or eccentricity or for the outlandishness of the events they describe. 'Knoxville Girl' probably started its life as a broadside. No other performer, IMHO, has ever made the broadsides live as much as Nic did, not least through his arrangements and interpretation. Ordinarily I'd offer to tape my (somewhat distressed) vinyl records for people but in this case what's important is that Nic gets the benefit of a proper re-release of some of the finest revival folk ever recorded. Good sales of this record might just persuade the relevant people that this should now be done. 'Criminal' is far too mild a word for the current situation. Np: Nic Jones 'William Glenn' -- Iain Noble Hound Dog Research, Survey and Social Research Consultancy, 28A Collegiate Crescent Sheffield S10 2BA UK Phone/fax: (+44) (0)114 267 1394 email:[EMAIL PROTECTED] [EMAIL PROTECTED] ---
Re: Clockwork Orange (was Re: RIP Stanley Kubrick)
Tom Mohr wrote:
Regarding "A Clockwork Orange", Iain Noble wrote:
If I'm baffled by anything it's Tom's description of the film as
'decadent' and 'appalling'. I think he's confusing depiction with
approval.
and
You might
disapprove of what something shows or says but that doesn't mean
it's bad art.
I've tried before to articulate my disgust with this film, and I
usually end up pointing to another Chicago critic:
A Clockwork Orange
Capsule by Dave Kehr
From the Chicago Reader
A very bad film--snide, barely competent, and overdrawn--that enjoys a
perennial popularity, perhaps because its
confused moral position appeals to the secret Nietzscheans within us.
It's a movie that Leopold and Loeb would
have loved, endorsing brutality in the name of nonconformism. At best,
Stanley Kubrick's 1971 film suggests an
Animal House with bogus intellectual trappings. But the trappings--the
rationalizations and spurious
arguments--are what make it genuinely irresponsible, genuinely
abhorrent. With Malcolm McDowell, Patrick
Magee, and Michael Bates.
A number of friends have told me to see "Silence of the Lambs", and
I've avoided it for the same reasons that I dislike
"Clockwork Orange". I don't think you can make a good movie (or good
art) about serial killers who eat people or about
amoral rapists.
Which only goes to confirm my original objections. The use of the
term 'decadent' with reference to art (and Kubrick's films are art)
almost invariably articulates and conceals a moral or political
agenda while appearing to make an aesthetic judgement. The best
analysis of this I know is Wilde's preface to later editions of
'The Picture of Dorian Gray'.
As for 'I don't think you can make a good movie (or good
art) about serial killers who eat people or about
amoral rapists', my simple answer is of course you can. Art of all
kinds would be immeasurably poorer without various depictions and
analyses of appalling behaviour from Sophocles to Hitchcock.
Your Chicago critic is simply wrong. Burgess' book is most
emphatically anti-Nietzschean, as a Catholic conservative he was
trying to demonstrate the crucial importance of morality and ethics
- exemplified by religion - as the very essence of social bonds, the
message of the book is that it cannot be replaced by either
repressive control or by technical fixes aimed at
'curing' the offender ('re-education' as they used to call it in
China). It may be that the film fails to carry this theme across
effectively (which may account for Burgess' dislike of it) but I
found it there. And I must agree to differ with your critic's
assessment of the film's technical merits too. And I never saw the
slightest hint of Kubrick's justifying the actions of the droogs.
As for the comparison with 'Silence of the Lambs' this simply does
not work. This is a standard Hollywood pot-boiler (enriched by a
thick slice of overripe Welsh ham), perhaps you ought to see 'Red
Dragon' an earlier film about the first Hannibal Lecter novel with
Brian Cox as the good doctor which is rather better. The use of
music is good in that too. But neither can compare with the
slightest of Kubrick's work.
--
Iain Noble
Hound Dog Research, Survey and Social Research Consultancy,
28A Collegiate Crescent Sheffield S10 2BA UK
Phone/fax: (+44) (0)114 267 1394 email:[EMAIL PROTECTED]
[EMAIL PROTECTED]
---
Re: twanglife after 50, 60, 70 ...
At 06:53 AM 3/11/99 EST, you wrote: T I've got to write a short article about what the lives of famous or historical people looked like at later key ages, particularly after 50 (examples include: Frank Lloyd Wright, Sidney Greenstreet - even Philip Glass, who apparently was a plumber until he hit 40). What about Joe Gracey? He's so old he was telling me about standing on the beach down there in Texas waiting for the Gulf of Mexico to finish filling up. He knows a lot of them really old people too. Billy joe, Willie, Waylon, Cowboy Jack, Moses, Shadrack, Meshack, and Abendigo, etc Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
Re: Clockwork Orange (was Re: RIP Stanley Kubrick)
Iain Noble wrote lotsa sensible stuff and: perhaps you ought to see 'Red Dragon' an earlier film about the first Hannibal Lecter novel with Brian Cox as the good doctor which is rather better. sorry, being nitpicky, but that movie was called "Manhunter", tho I believe it was based on the novel red dragon. And yes, I would agree it is in many ways superior to ...Lambs. As someone finally reaching the end of a coupla years' writing a book about someone whose plays depict murderous Jews, the brutal torture of a homosexual king, Catholic terrorists slaughtering innocent Protestants, and a shepherd-turned-world conquerer who put Attila the Hun in the shade, I'd have to agree that it is possible to create great art out of unpalatable source material. Stevie (wasting time P2ing when I should be concentrating on the race between me delivering my manuscript and my wife delivering our second child any day now...)
Temporarily off-list
Howdy, My ISP and I believe that something from the P2 list has caused my e-mail box at the server to crash two days in a row. Has anybody else been having trouble like this? I suspect it may be something with attachments to it. The trouble first started back on 3/8/99 and has happened at least once since then since the first repair was made. The synopsis of all this information is this: I am going to temporarily have to set the list to "nomail" for a while as we try to repair the mailbox. I, apparently, can still send mail out, but incoming mail is "trapped" and inaccessible to me at this address. Since this e-mail address is actually my work account, I really can't afford for the box to eat my mail on a regular basis. I'll continue to throw stuff over the wall from time to time (such as playlists, local clips of interest, etc.) but, for the time being, will be unable to participate in P2 reindeer games. Hopefully, soon I'll be reinstalling internet access at home and will happily re-join the list at that time. In the meantime, y'all play nice and have fun at SXSW. Please note-- as of this morning my incoming mail function is still not working, so off-list e-mail to me should probably wait a day or two for things to get back to normal. According to the server, I've got about 300 pieces of mail that I can't get to this morning. I'm assuming much of that is P2 traffic, but if any of it was personal e-mail to me, try again this weekend. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED]
Re: SXSW update II
-Original Message- From: Amy Haugesag [EMAIL PROTECTED] Stacey Taylor, I think Austin Motel (er, is Stacey still planning to attend? Someone let me know, please.) Yes, I'm still attending, just in deep lurk mode after my move. I'm currently working on putting up a page of all the off-SXSW events that I've caught in various emails...and somehow I'm missing all the Yard Dog and Broken Spoke events...does anyone have those handy? I'll post the address when I finish it...should be in a few hours. Sure looks like Junior and others who opt to forego the wristbands will have plenty of options...too manyg. Stacey
RE: (Fwd) controlling information
Don Yates wrote: On Wed, 10 Mar 1999, Ph. Barnard wrote: This House bill concerning internet access concerns us all on P2, lord knows It's a good moment to use email to write your Representatives and inveigh against this bill. More dangerous than SUVs and definitely a detriment to all things P2!! Well maybe, if it were only true. It's a hoax spam that's been passed around the internet for years.--don But that doesn't mean someone ain't thinkin about it. They did it with radio, they did it with cable. Eternal vigilance liberty. "Wolf, wolf!" Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Elena Skye DSB Blood Guts Tour '99 (March)
Hey Guys! Here it is, finnally almost everything in place. Last time out we met quite a few P2-ers and it was great fun. Hope to see you all again, and meet more. This is the Blood Guts tour because much sleep was lost and hair was pulled to put this together. And there were those who said it couldn't be done, HA! Just goes to show, you can't keep a good woman down Elena Skye The Demolition String Band THE BLOOD GUTS TOUR '99 mon 3/15The Bluegrass Inn two sets beginning at 8PM Nashville, TN tues 3/16The Hi-Tone Memphis, TN wed 3/17Tipperary's special St. Patrick's Day gig Dallas, TX fri 3/19 The Old Quarter Galveston, TX sat 3/20 Crooked Pass Ale House College Station, TX sat 3/20 PRIVATE AFTERHOURS PARTY AT FOUR SEASONS HOTEL (interested? email me offlist) Austin, TX sun3/21 Rudyard's British Ale House Houston, TX tues 3/23 Kerry Pub Decatur St. New Orleans, LA wed 3/24The Star Community Bar Atlanta, GA thurs 3/25TBA fri 3/26Fat City, Charlotte, NC sat 3/27 Moondance, Richmond, VA In April we will be at 9C (Manhattan, corner Ave C 9th St.)every other Tuesday starting April 6. Showtime 10:30PM 'til whenever...
Re: Radio/media for tour/record promotion?
In a message dated 99-03-10 10:12:41 EST, you write: My band is setting up a very short tour up the Mississippi corridor from Austin to launch the record that we'll be finishing any day now. We'd like to have (gasp!) people at the shows, even though we don't get out of Austin too much, so we're trying to find media outlets that we can barrage with hookers and blow. I'm thinking radio appearances, reviews of the record, in-stores, mentions in "recommended" lists, etc. I'd start out getting my hands on a copy of Musician Magazine's Guide To Touring And Promotion. It's not everything but I have found it to be extremely helpful. Stacey's Hellcountry website also has some good leads, a lot of it is New England based, but not all of it, and it can give you ideas. Good luck! Elena Skye
Clip: Buckner interview from Willamette Weekly
Richard Buckner with Fernando and Luther Russell, Ian Moore, Joseph Arthur Satyricon 125 NW 6th Ave., 243-2380 10 pm Friday, March 12 $6 Visit Richard Buckner's unofficial Web site at: http://home.earthlink.net/~doubters/buckner.html. Richard Buckner makes music for dark moods, heavy drinking and quiet, painful contemplation. On both of his still-in-print albums, Devotion + Doubt and last year's Since, the songwriter/guitarist sings gravel-voiced stories of restless drifters, broken-hearted romantics, lost drunks and trashed relationships. His arrangements are pure Americana, but hardly traditional--an earthy, brooding blend of country, folk and rock that ditches melody in favor of hooks that stick in your brain for days like a haunting hangover. WW caught up with Buckner in Kansas as he was touring the county in his pick-up truck. WW: Are you touring with a band? Richard Buckner: No, I'm touring with my girlfriend. She's playing drums with me. It's just guitar and drums. That's interesting because your last album, Since, was the first time you really plugged in and played electric. What prompted that change? It was really just the way I heard the song arrangements in my head. I hadn't played the material very much before I recorded them, and I had some weird band-sound thing in my head. Are you being affected at all by this Polygram purge? Oh, in a positive way. Positive? They dropped me. Are you kidding me? Uh-uh. It's a good thing. I also assumed the relationship [with MCA] would be over after Since because that's the kind of deal we had. They just took a while to tell me about the roster cuts. I think I want to stay clear of the bottom feeders for a while, so I don't plan on signing with another label. Major labels or all labels? I'm not sure if I want to go to a label at all. I'm not sure what I want to do. I don't trust anyone anymore. I mean, as far as independent labels, I never got paid off from [his debut] Bloomed and still feel used from that, so, I don't think it has to do with a major or minor label. It has to do with the overall thievery of the classic record company-artist relationship. Are you saying you're never going to record again? No, I'm going to make records. I have an 8-track at home. I just don't know about future stuff. Well, I may be off base here, but since your last two records dealt with your divorce or coping with depression, and now you have a new girlfriend--is it blocking you up? [laughter] No, I don't think the records were about dealing with romantic depression. I was just writing about stuff, not about me dealing with my horrible life. It was a bunch of fucking songs, ya know? These songs aren't autobiographical? Well, everything is to a certain extent, but that's not me in all of those songs being some fucked-up loser, all right? OK. What made it feel autobiographical is not just the presentation of the words, or the music, but on Since your lyric sheet actually reads like one large letter. There's no division of songs or song titles. It feels personal. Well, that's how I write. When it gets down on paper, it's not usually in the form of how the song's going to be. It doesn't really matter what kind of phrasing or pentameters or style because the words are separate from the songs. When you put words to music, the music always imposes some mood on the words that wouldn't normally be there. And when you sing, your voice has a certain emotion to it. So when I was making the booklet for it, I didn't want there to be an indication of where one song began and ended; I wanted it to be one large piece. Your lyrics are unique--the songs are often fragments, you use odd punctuation, like quotes that don't come from narrators. Well, after I've written something, I often go back through and over-punctuate because I think grammar rules are fucking stupid. When I was studying English in college, it was really hard to get your point across and then have some professor say, "That's wrong." Well, it's not wrong, asshole--it's some rule that's been brought down and has no bearing on any literature at all. So, I did a lot of things to piss my professors off. You also like to make up words. It's necessary. The more new words out there the better Rules are necessary to a certain extent, but so much of it is the way you breathe and talk and think while you're talking that there's no correct way you can write a story using proper grammar rules. That's why I do that E.E. Cummings, ya know? I've found the best way to listen to your stuff is to grab a bottle of whiskey and-- That's a great way to do anything. [laughter] Well, yeah. Your stuff is definitely soaked in alcohol. You're a creative drinker. It helps. It does work, so it's not bad. There's nothing wrong with that shit. People have started lumping you in with the alt-country genre. How do you
Re: SXSW update II
On Wed, 10 Mar 1999 23:44:42 -0500 Amy Haugesag [EMAIL PROTECTED] wrote: Wynn Harris staying at his dad's I don't think I'm blowing anyone's cover here, but I've known Wynn for a long time and can attest to the fact that she's a she g. William Cocke Senior Writer HSC Development University of Virginia (804) 924-8432
Re: Elena Skye DSB Blood Guts Tour '99 (March)
Elena Skye The Demolition String Band THE BLOOD GUTS TOUR '99 sat 3/20 Crooked Pass Ale House College Station, TX Because I used to book music here, I should say that I am surprised that anyone as good as Elena Skye and the Demolition String Band is playing here. I hope it represents a change of opinion in the mind of the owner, he canceled Walter Salas-Humara after I booked him and had me say no to both Richard Buckner and Trish Murphy, who called us. I should also mention for those Texans trying to find the place, that it is Crooked *Path* Ale House Chad ** Chad Cosper Dept. of English Univ. of North Carolina at Greensboro 336-275-8576 http://www.uncg.edu/~cscosper
Re: A Clockwork Orange
[A late posting - I get P2 on digest - on this topic which has, by now, already been well covered here] : Bill Silvers: ... was "A Clockwork Orange" in fact banned in the UK as was reported here? ... Do you know if was Kubrick's own doing? Jon Johnson: My understanding is that the film inspired some rapes and other crimes in Great Britain that seem to have unnerved Kubrick. Stevie Simkin: I think the issue was more a spate of muggings of tramps Iain Noble: The film was withdrawn from circulation in this country by Kubrick himself after several UK tabloids launched a moral panic about copy cat attacks shortly after the film came out. It has never been banned by the Board of Film Censors ... Iain's summary is correct. The file critic Derek Malcolm summarises the episode thus in his piece in The Guardian: "Kubrick, of course, was no stranger to controversy, having made A Clockwork Orange in Britain in 1971. That film, based on an Anthony Burgess novel, about the endemic violence running underneath so-called civilised society, was passed by the censor but hooked out of release by Kubrick himself because he thought the British, and particularly the British press, had mistaken its pessimistic message and proclaimed it as glamorising violence." One thing I wanted to add, with reference to the excerpts from Jon and Stevie's postings above, is that I do not know if any actual attacks inspired by this film were ever proved to have taken place here. (I mean, as opposed to the 'idea', or 'threat', of such attacks.) I think the reference above to a 'spate' of such attacks is almost certainly wrong. Ob Twang content: still humming Crazy Arms ... +-- ///\ Ian Durkacz --+ |C-oo Department of Automatic Control Systems Engineering | |\ The University of Sheffield, Sheffield, England| +--- \_v e-mail: [EMAIL PROTECTED] +
sxsw room available...
Hey all, turns out the folks I thought would be using my double reservation aren't, and the room is up for grabs... it's a single, downtown at the La Quinta for $79 +tax a night originally I had booked it from Monday 3/15 to Sunday 3/21 (checking out on the 22nd) but I'm sure the reservation can be changed. This is the cheapest of the official hotels downtown, and within walking distance of Stubbs and the 6th St. venues. I need to cancel it by the end of today to avoid penalty...email me offlist if interested. [EMAIL PROTECTED] Hellcountry "supporting the Boston area twang scene" http://www.hellcountry.com [EMAIL PROTECTED]
Re: Kelly Willis song comments
At 04:25 PM 3/10/99 -0600, you wrote: Stuart asks: Who is Damon Bramblett? He's an Austin based singer/songwriter. Good friends with Kelly and Bruce. He's supposedly got a record in the can that was supposed to come out on Watermelon (ha!). I've seen him play a couple of times and he's pretty entertaining. Jim, smilin' He is very influenced by Johnny Cash, Bruce Springsteen and Bob Dylan (who isn't but you can really hear those people in his songs). He has a song on Charlie Robison's latest cd and Sara Hickman also covered him on one of her cds. Jerald
Re: twanglife after 50, 60, 70 ...
Musical suggestions would be appreciated Bill Monroe!
Re: Sheffield
Stuart [EMAIL PROTECTED] wrote: Caught this band called the Hillbilly Cats in a wonderful working class pub in Sheffield ... This place was great. Glad you had a good time here: Sheffield is a good, solid, no-bullshit city. May I recommend to the list another Sheffield band - The Slingshots - who, as it happens, just have a CD out. They are an excellent trio who play 50's style rockabilly - some covers (Carl Perkins, Johnny Burnette, Elvis, etc), and some of their own stuff. The lead singer rhythm guitarist Steve Russell, and the very talented lead guitarist J D England, have in fact been playing around town together since they came to Sheffield in the early '80's as undergraduates. On bass is Graeme McElearney. Some of their original numbers - say, 'Steamhammer Jones', and 'The Pain Has Gone' - are pretty damn good. The latter in particular features some nice guitar work by J D. The CD - 'Feels So Right' - is on the Raucous label, RAUCD 040. In the States it should be available through Hepcat. +-- ///\ Ian Durkacz --+ |C-oo Department of Automatic Control Systems Engineering | |\ The University of Sheffield, Sheffield, England| +--- \_v e-mail: [EMAIL PROTECTED] +
Re: instrumentally speaking
...either of Wayne Hancock's records (yeah, I know he sings, but in my mind, they still rank as instrumental albums). Hmmm. Care to elaborate? It's just that what I get out of that record mainly comes from the instrumental breaks on it, courtesy Billers, Skelton and Miller. I like Wayne the Train just fine, but remove his vocals from the mix and I'd still treasure "That's What Daddy Likes (or Wants)" or whatever. Course, he did write most, or all, of the tunes... Other instrumental records of note, in the country area, Buddy Emmons' record from the 70s, with "Roly Poly" on it, and a Mike Auldridge record from the same era that I can't recall the title of. Now a question: A lot of folks have had a chance to listen and get acquainted with Steve Earle's new one, "The Mountain." I was curious about how Earle fans, and non-fans for that matter, stack this bluegrass endeavor of Earle's with "Train a Comin," which used bluegrass/folk instrumentation but wasn't (at least to my ears) as solidly bluegrass as "The Mountain." My impression is that "Train a Comin" is the stronger record, by virtue of the songwriting, and the folkier type of bluegrass, which has a bit more appeal to my ears. I'll qualify that judgment, however, by admitting that I still haven't listened to "The Mountain" enough times to form any lasting conclusions. -- Terry Smith ps later today, if I get a chance, I'm gonna attempt to spark another thread about the Nashville Sound: "A country phase that's just as legitimate and 'country' as any other country phase, or a desperate grasp at mass popularity, or both?" -- I've been reading Patrick Carr's essay in the Country Music Foundation's "Country: The Music and the Musicians" and he's providing me some ammo. (But I still can't figure out if he's completely full of shit, or a genius.)
SXSW wristbands for sale
Once again, my brothers from Chicago have bailed on the festival this year, so I have a pair of wristbands for sale. Anyone who needs them, let me know off list. I'll be selling them at the original $65 price tag. -- Jim Fagan| AIX Build Architecture and Integration | [EMAIL PROTECTED] T/L 678-2458 | Austin, Texas | fagan@austin
Fw: off-sxsw event page
Hope this is useful for some: http://www.hellcountry.com/twangfluff/sxsw.htm
Re: [twangfest] Fw: off-sxsw event page
Stacey, although I don't have my notes with me now, I can add a couple of things to the off-events page: --Friday afternoon there's a do at the Broken Spoke that has about 5 performers: the 3 I remember are Lonesome Bob, Robbie and Kinky Friedman. Can't recall the sponsor either... --Friday night at the Carousel will be Git Gone (w. Jim Stringer) and the one and only Charlie Burton and the Texas Twelve Steppers. --Saturday morning, 11:00 am, there's a Bulldog Records breakfast at the Hernandez Cafe (great!) on East 6th, with Charlie Burton (don't know who else). Indeed, there is no shortage at all of great off-festival music. -junior
RE: Reading between the lines
On Wed, 10 Mar 1999, Bob Soron wrote: Note to Nicholas Petti: You were supposed to send Don the cough syrup, not the cod-liver oil. Now he's cranky, sick, and *sober*. Rush up the good stuff so we can get the old Don back, OK? Jeez, I shoulda known better than to mention "phlegm" around you smartasses.g Anyway, after goin' home early and sleepin' all afternoon and evening, the lungs have cleared up a bit (they no longer creak when I breathe), so hopefully I'll be in tiptop shape by the time I hit Austin. Then again, the KCMU pledge drive starts today, and I'll be incessantly beggin' for dollars for the next few days, along with seein' Neko Case tonight and the Damnations/Buckner on Saturday. I sure hope this old body makes it--don
Re: SXSW update II
On Thu, 11 Mar 1999, William T. Cocke wrote: I don't think I'm blowing anyone's cover here, but I've known Wynn for a long time and can attest to the fact that she's a she g. And a scrappy one at that.g--don
Re: instrumentally speaking
: A lot of folks have had a chance to listen and get acquainted with Steve Earle's new one, "The Mountain." I was curious about how Earle fans, and non-fans for that matter, stack this bluegrass endeavor of Earle's with "Train a Comin," ... My impression is that "Train a Comin" is the stronger record... Terry, I'll pretty much agree with you there. I tend to lean toward Train because it's a little less-defined, more far-reaching, a trait I love so much about Earle. Mountain is really nice, but I can't help but look at it as kind of a side-gig project, not quite the essential Earle as, say, Train and Corazon, imho, of course. Neal Weiss
Re: Temporarily off-list
Shane, I had similar trouble and finally set up a Hotmail account which also allows you to pull in your POP mail through Hotmail. My e mail was hanging up after delivering some messages but using the POP mail setting through Hotmail I was able to pull all my mail that way, clean out my POP acct box and then it worked fine until another P2 message clogged it up a few weeks later. Same solution worked again. Mike Hays http://www.TwangCast.com TM RealCountry 24 X 7 Please Visit Then let us know what you think! Mike Hays www.MikeHays.RealCountry.net For the best country artist web hosting, www.RealCountry.net -Original Message- From: Shane S. Rhyne [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Thursday, March 11, 1999 8:43 AM Subject: Temporarily off-list Howdy, My ISP and I believe that something from the P2 list has caused my e-mail box at the server to crash two days in a row. Has anybody else been having trouble like this? I suspect it may be something with attachments to it. The trouble first started back on 3/8/99 and has happened at least once since then since the first repair was made. The synopsis of all this information is this: I am going to temporarily have to set the list to "nomail" for a while as we try to repair the mailbox. I, apparently, can still send mail out, but incoming mail is "trapped" and inaccessible to me at this address. Since this e-mail address is actually my work account, I really can't afford for the box to eat my mail on a regular basis. I'll continue to throw stuff over the wall from time to time (such as playlists, local clips of interest, etc.) but, for the time being, will be unable to participate in P2 reindeer games. Hopefully, soon I'll be reinstalling internet access at home and will happily re-join the list at that time. In the meantime, y'all play nice and have fun at SXSW. Please note-- as of this morning my incoming mail function is still not working, so off-list e-mail to me should probably wait a day or two for things to get back to normal. According to the server, I've got about 300 pieces of mail that I can't get to this morning. I'm assuming much of that is P2 traffic, but if any of it was personal e-mail to me, try again this weekend. Take care, Shane Rhyne Knoxville, TN [EMAIL PROTECTED]
RE: twanglife after 50, 60, 70 ...
Musical suggestions would be appreciated Bill Monroe! Not to mention Jim Jesse McReynolds, Ralph Stanley, Charlie Louvin, Bashful Brother Oswald and much of the membership of the Grand Ole Opry g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: instrumentally speaking
...either of Wayne Hancock's records (yeah, I know he sings, but in my mind, they still rank as instrumental albums). Hmmm. Care to elaborate? It's just that what I get out of that record mainly comes from the instrumental breaks on it, courtesy Billers, Skelton and Miller. I like Wayne the Train just fine, but remove his vocals from the mix and I'd still treasure "That's What Daddy Likes (or Wants)" or whatever I dunno, Terry; I appreciate the point, but it still seems to me that "instrumental album" ought to be reserved for albums composed exclusively, or at least mainly, of music with no singing on it g. Other instrumental records of note, in the country area, Buddy Emmons' record from the 70s, with "Roly Poly" on it... Uh, that album's title is Buddy Emmons SINGS Bob Wills (emphasis added). There are, though, two bonified instrumentals on it - "Boot Heel Drag" and "Twinkle, Twinkle Little Star ps later today, if I get a chance, I'm gonna attempt to spark another thread about the Nashville Sound: "A country phase that's just as legitimate and 'country' as any other country phase, or a desperate grasp at mass popularity, or both?" My vote, pending some unforeseen revelation from Messrs. Carr or Smith, is for "both." Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
The Mountain (was Re: instrumentally speaking)
Neal, friend to the stars, wrote: Terry, I'll pretty much agree with you there. I tend to lean toward Train because it's a little less-defined, more far-reaching, a trait I love so much about Earle. Mountain is really nice, but I can't help but look at it as kind of a side-gig project, not quite the essential Earle as, say, Train and Corazon, imho, of course. I'll third that emotion. So far, I'm digging the record, but it's not inspiring me to play it, oh, 42 times a day like new Earle releases typically do. The playing and singing on it are great, but I miss the adventuresome nature of his other records, and some of the songs sound a little forced, like he was trying too hard to write bluegrass classics. I'm really wondering if he's going to burn himself out -- he supposedly has seven or eight songs already recorded for the new record. Historically, very few people can churn out that many songs in so short a time and have the quality stand up. CCR, Dylan, and Costello come to mind. Hell, Earle's already ripping himself off pretty badly in spots. Rhode Island and Detroit -- two 12-seeds -- in the sweet 16. You heard it here first. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: twanglife after 50, 60, 70 ...
Blah blah the lives of famous or historical people looked like at later key ages, particularly after 50 (examples include: Frank Lloyd Wright, Sidney Greenstreet - even Philip Glass, who apparently was a plumber until he hit 40). Musical suggestions would be appreciated (interesting non-musical examples too, for that matter). Twang example: Don Walser Clarification needed. Are you talking about folks who hit it big in a later key age (such as Don Walser) or someone who hit it big early, but have continued to make vital contributions to their area of expertise (such as Bill Monroe)?
Re: instrumentally speaking
Other instrumental records of note, in the country area, Buddy Emmons' record from the 70s, with "Roly Poly" on it... Uh, that album's title is Buddy Emmons SINGS Bob Wills (emphasis added). There are, though, two bonified instrumentals on it - "Boot Heel Drag" and "Twinkle, Twinkle Little Star I think that this is an example of what Freud might have described as repression. Since listening to that record, years ago, I've repressed the bad (or unremarkable) aspects of this record, the vocals. Which, I guess, might be a good way of describing how folks tend to remember music from "the old days." You repress the bad stuff, and generally mainly remember the good. If I could only learn to exert this sort of repression with modern country music. -- Terry Smith
Re: [twangfest] Fw: off-sxsw event page
The Hot Club of Cowtown are doing Happy Hour at the Continental on wednesday at 6:30PM. I saw them last night and they were amazing. lots of new tunes and tight as a tick. Slim
Re: The Mountain (LONG w/1999 Reviews)
Just when I thought Purcell and I were from different musical planets, he writes a post that I agree with word for word (except I am not much worried about Steve Earle burning out, but that is a minor point). ALong these lines I have these impressions of my latest 1999 purchases: Kelly Willis: A little flat and slick at first impression but certain songs have really grown on me. What I cannot figure out is why her cuts on compilations (i.e. Real: Tom T. Hall Project and Rig Rock Deluxe) practically bring me to spasms of joy and are often my favorite cuts on the comps. But Her solo albums always leave me a little let-down?? Gourds: I am really digging Ghosts of Hallelujah. I love the loose live sound that they have reverted back to (sounds more like Dem's Good Beeble to me than the Waltermelon disc -- although I am a fan of both). The lyrics never reach me on a conscious level (I mean the first song comes out of the gate with the protagonist kicking a dog that is taking a shit!!) but I don't seem to care. I just love their sound and approach and voices. I can even overlook the blatant vocal tributes to Levon Helm, Garth Hudson, and Vic Chestnut. Gets funner every listen. Wilco: I want to LOVE this record. I cheer in public for Tweedy's musical idealism and ambitiousness. HOWEVER only parts of this record work for me. The sounds are interesting but to my ears they don't ALWAYS serve the songs well. To get more wicked I don't think that ALL of the songs are that strong (with the exception of a few - She's a Jar, and a few others are Great!! -- although the last line of She's a Jar is totally distracting and unnecessary IMO). Which leads me to the lyrics which alternate from sweet to morose(sp?) a little too much for my taste. It's like he is doing a musical version of that Jay McInerney book about the high class serial murderer. Except I don't really care about his characters and he repeats the I want to kill you theme a few times to where I am subconsciously wanting to kill him. But I am spinning and spinning this thing -- maybe just to figure out why he so consciously is borrowing from Brian Wilson and Sgt. Pepper's. I am perplexed by this guy and this record. Keeps life interesting. Steve and Dell -- the Mountain has some great songs and the playing is superb -- as if you would expect anything else. I don't see it as a bluegrass record at all. I like it . . . but I agree with Dave and Terry (shoot me!! g) that I prefer the ultra eclectic Steve Earle records. But that said this is fairly eclectic when you consider that he is using Del and the band for Irish tunes, pop-folk ballads, and modern storytelling. The weaknesses are that I too think I am conscious of the writing on a few songs as if (endearingly I might add) Steve is trying to write what he thinks a String Band album should have as topics for songs!! It almost makes me cry how naive and beautiful that is . . . whether it is true or not I picture this prison hardened legendary songwriter thinking about mountains because he is playing with a bluegrass band! Good Record though. Joe Henry -- well sorry but my fellow former Ann Arborite is not doing it for me with his new record 'Fuse'. I just find it boring I guess. The lo-fi hi-fi drum/bass loops with ethereal padding seems to abscure some great lyciral work for me. EVen having a cut on Felicity can't save it for me. Sorry Joe. The Damnations -- now I have the tape pre-realease and I understand that they touched some things up -- but for my money this recording is the over-hyped CD of the year. I have played on the same bill as the Damnations and really think they have great talent and live energy . . . talent to spare and deserve their live rep!! But the record is flat and repetitive and not remotely country. The only song I can remember is the Black Widow and it is too long and reminds me of Trip Shakespeare's weaker moments. The voices are great but don't resemble any of the great sibling duets that they have been compared to. I don't get any of the songs. Emperor's New Clothes . . . QUICKIES: and for what it's worth the new Terry Allen has made a nice (quirky intelligent timeless) impression on me. I don't know what my problem is but I am kind of digging the new Paul Westerberg. Mostly the sounds. and I am totally into the Ray Wiley Hubbard pre-release of the Philo record he is puttng out later this year. that's all I can think of . . . -jim (ducking -- but with a clean conscience -- and without a dictionary!!)
Re: [twangfest] Fw: off-sxsw event page
Honorary Austin citizen BARNARD wrote: Indeed, there is no shortage at all of great off-festival music. Damn Junior, could you keep it down? I can hear the gloating all the way from Larryville. g b.s.
Re: [twangfest] Fw: off-sxsw event page
Bill chides: Damn Junior, could you keep it down? I can hear the gloating all the way from Larryville. g Heh, I think I'm getting a little eager to get outta Dodge for a spring break --junior
Re: The Mountain (LONG w/1999 Reviews)
Jim writes, regarding Kelly Willis: What I cannot figure out is why her cuts on compilations (i.e. Real: Tom T. Hall Project and Rig Rock Deluxe) practically bring me to spasms of joy and are often my favorite cuts on the comps. But Her solo albums always leave me a little let-down?? this is what I feel about Whiskeytown's songs...their compilation choices rock my world, but I can't get excited about listening to their albums meshel n'vegas
insipid SPIN on Wilco
No wonder I cancelled my subscription to SPIN. Here's the first paragraph of their Wilco review, forwarded to me by a pal (and intended to piss me off, though it didn't because SPIN is such a joke). *** Jeff Tweedy is a big daddy in the alternative country movement, half the heart of original No Depressives Uncle Tupelo. While he's forged ahead with Wilco, his children have made mostly silly records, PBS country for people embarrassed by The Nashville Network. Wilco, meanwhile, managed to make the only masterpiece the genre's produced so far: Being There, which took Peter Laughner for a ride, picked up the Rolling Stones near Appalachia, and headed for a rendezvous with Neil Young in the Hotel Arizona. *** Dave np: hoop scores online *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
RE: The Mountain (LONG w/1999 Reviews)
James Gerard Roll wrote Kelly Willis: A little flat and slick at first impression but certain songs have really grown on me. What I cannot figure out is why her cuts on compilations (i.e. Real: Tom T. Hall Project and Rig Rock Deluxe) practically bring me to spasms of joy and are often my favorite cuts on the comps. But Her solo albums always leave me a little let-down?? Slonedog responds: Amen to that. If this album were as good as "Truckstop Girl", I'd be spinning it constantly and never leave the house. Perhaps an album with a real band backing her (Son Volt?) might serve her better than the talented but slick-sounding conglomeration of musicians she has on this album. James continues: Wilco: ...I don't think that ALL of the songs are that strong (with the exception of a few - She's a Jar, and a few others are Great!! -- although the last line of She's a Jar is totally distracting and unnecessary IMO) Slonedog responds: Actually I think "She's A Jar" is one of the weaker tunes on an otherwise brilliant pop album. On the first couple of listens, I wasn't that impressed with the first few tracks. For me the album really kicks in about the fifth track with "I'm Always in Love". Then, "Nothing'severgonnastandinmyway (Again)" really rocks my world. As for why Tweedy might be borrowing so liberally from Brian Wilson... because he can. James again: Steve and Del -- ...I agree with Dave and Terry that I prefer the ultra eclectic Steve Earle records. But that said this is fairly eclectic when you consider that he is using Del and the band for Irish tunes, pop-folk ballads, and modern storytelling. Slonedog responds: I think Steve can go overboard on the eclecticism at times. I thought while some of the individual songs on "El Corazon" were brilliant, it doesn't really hold together as a piece of work in the way that "Train-A-Comin'" or even "I Feel Alright" do. While I can appreciate the disparate styles and musicianship of say "NYC" and "I Still Carry You Around", I don't think it necessarily serves either song to put them on the same album with each other. That said, I agree with James' point about "The Mountain" being more eclectic than it might get credit for being labeled an "exclusively bluegrass" album. But I disagree that Steve would view any of these songs as mere genre exercises when he sat down to write the album. As for the "Train-A-Comin'" vs. "The Mountain" debate, both hold together well and will alternate on the tape deck on many road trips to come. "The Mountain" might get the nod for better production and more original songs but "Train-A-Comin" will probably continue to be the sentimental favorite. Just my 2 cents, Slonedog
RE: insipid SPIN on Wilco
...PBS country for people embarrassed by The Nashville Network. Are we to take it, then, that SPIN isn't embarrassed by the Nashville Network? Or that it is, but it's embarrassed by PBS, too? Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Bramletts
So, I'm confused. Which Bramletts are which. I'm talking about Bonny, Randal and Doyle. Are these folks related? Which one was in one of Stevie Ray's early bands? And which one were you folks talking about the other day? I've got a new record, a review copy, of Randal, which so far I haven't gotten past the third or fourth song. A little slow, but I'm still planning to give it a chance. -- Terry Smith (who caught the biography thing of SRV on VH-1 the other night. That was way entertaining, and sad, too.)
The Nashville Sound
Here we go again. As I promised, here's some provocative statements from Patrick Carr's essay in the Country Music Foundation's "Country: The Music and the Musicians" (a wonderful book, which uses several writers' essays on different aspects of country music history, to tell the story. I haven't read 'em all yet, but Carr's, titled "Country's Changing Image," is fairly provocative -- though one would suspect he's got accuracy on his side since this has been issued under the tacit endorsement of the CMF.) Anyhow, Carr gets into how the country music industry reacted to Elvis and Sam Phillips' other musical earthquakes. On the one hand, the industry reacted predictably, with a swan dive into rockabilly, albeit "tending toward the coy rather than the provocative." This didn't work, according to Carr, because the "kids could tell" it was bogus and calculated, and Phillips had already "cornered the market on real rockabillies -- Lewis, Perkins, Rich, Cash -- who might otherwise have been there when Nashville needed them... "Nashville's other response was, basically, one of surrender. There being no perceived growth potential in classic straight honky-tonk music and precious little reward in trying to compete on the youth front, the means of production were turned toward a new target. Nashville's future, it was felt, lay in providing music for the flip side of the youth rebellion: the relatively mature, conservative, conventional urban-suburban middle-class population whose material advancement through the post-war years had provided the affluence that made a teenage cunsumer culture possible in the first place. The existing musical tastes of such people ranin the direction of softness, mellifluousness, a certain cocktail hour suavete; some tickling of the ivories, some sweeping strings, perhaps a judicious touch of brass, a vocal with some moonlight and money in it. And hence the infamous Nashville Sound. "Basically, the Nashville Sound ... was a shotgun wedding of inherently sentimental country melodies and pop-jazzy production technique, the package dressed up in evening wear and sanitized as much as possible of rural odor." He goes on to acknowledge the success of the Nashville Sound, but then adds that the "dream of full assimilation ... with the Tony Bennetts and Andy Williamses of this world proved elusive." The idea, Carr writes, ran in to a brick wall because, "the primary demographic target of the Nashville Sound, eventually described to a tee by producer Billy Sherrill as 'the housewife washing dishes at 10 a.m. in Topeka, Kansas', just didn't buy many records." Carr sort of meanders into a discussion about how even though the Nashville country music industry was finding commercial success, it still wasn't being accepted socially among the top-dogs in Nashville. "God only knows how much of the music's conscious image manipulation in the sixties and seventies was motivated not by economics but by the simple craving for full acceptance in Nashville's better country clubs. "On the musical front, the mood was even more fragile. In the cause of pandering to that imaginary housewife's sense of musical and social propriety, far too many things couldn't be done: sounds not made, songs not sung, stories not told, fun not had, chances not taken. The honky-tonk blues, the hillbilly fever, the rockabilly fire -- all core ingredients of the country musician's most powerful creative reality -- couldn't be allowed to be shown in public. And so they went underground... "All if which meant that the country music industry of the sixties and early seventies qualified quite nicely for description by an adjective achieving a certain popularity at the time: uptight." He goes on and on, but you get the idea. Earlier in the essay, he does point out, as knowledgeable folks on this list have, that the history of country music is more or less repeated attempts to achieve mass popularity, and climb out of a self-imposed definition of folk music (in the folk culture context). The Carter Family, he points out, had a very deliberate image they were trying to project. "That's how the history goes. Almost as soon as the technology of recording and radio made it possible, people began trying to sell the music of the country culture beyond its natural boundaries. And at that point, the approval of outsiders began to matter very much indeed. "If you were a member of the country community who had committed yourself to making a living by selling your music (and thus, incidentally, buying into a particularly competitive division of the American Dream crapshoot), the question of how best to present yourself -- what maintainable image to adopt in the cause of maximum popularity -- become crucial to your economic future." me again -- in a lot of ways these comments apply to the current HNC scene as much as any that came before, though he does come off a little hypocritical. He seems to be understanding, and endorsing, the
RE: insipid SPIN on Wilco
Jon Weisberger wrote: Are we to take it, then, that SPIN isn't embarrassed by the Nashville Network? Or that it is, but it's embarrassed by PBS, too? Doesn't matter. The people at SPIN are cooler than you and me either way, doncha know. Dave, whose also glad to see from that Buckner quote about NoDep that he's still an arse... *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: Bramletts
Randall lives in Athens -- are you talking about him? Deb
Re: twanglife after 50, 60, 70 ...
Clarification needed. Are you talking about folks who hit it big in a later key age (such as Don Walser) or someone who hit it big early, but have continued to make vital contributions to their area of expertise (such as Bill Monroe)? I think they're most interested in folks whose careers either took off or changed radically later in life (e.g. Walser). how about one of Steve Earle's favorite topics of conversation, Mance Lipscomb...wasn't he 60 before he started playing to audiences? meshel
RE: twanglife after 50, 60, 70 ...
I think they're most interested in folks whose careers either took off or changed radically later in life (e.g. Walser). Del McCoury. Del was a part-time, regional act until he retired from the logging bidness, moved to Nashville and went at music full-time. It's pretty astonishing to realize that was less than 10 years ago. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Bramletts
Terry A. Smith wrote: Which one was in one of Stevie Ray's early bands? That was Doyle Bramhall. He co-wrote "Life By the Drop" and a bunch of Stevie's other later tunes He also drummed for Marcia Ball for years. Tom Smith
RE: Clip: Buckner interview from Willamette Weekly
People have started lumping you in with the alt-country genre. How do you feel about labels such as these? I think the No Depression [the 'zine] people use it to make money, to make a living, by lumping a bunch of shit together as if it's some sort of fucking movement. I don't like all that crud, and I try to avoid it as much as I can. Sweet. I hope ND and the rest of the crud return the favor. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: The Nashville Sound
I'm with Carr, and by extension, I guess, Terry, up until this: "On the musical front, the mood was even more fragile. In the cause of pandering to that imaginary housewife's sense of musical and social propriety, far too many things couldn't be done: sounds not made, songs not sung, stories not told, fun not had, chances not taken. The honky-tonk blues, the hillbilly fever, the rockabilly fire -- all core ingredients of the country musician's most powerful creative reality -- couldn't be allowed to be shown in public. And so they went underground... "All if which meant that the country music industry of the sixties and early seventies qualified quite nicely for description by an adjective achieving a certain popularity at the time: uptight." Which is, to put it kindly, a gross overstatement. The sixties and early seventies? Here are the top artists in terms of Billboard airplay chart action in the 1960s: 1. Buck Owens 2. George Jones 3. Jim Reeves 4. Johnny Cash 5. Eddy Arnold 6. Marty Robbins 7. Bill Anderson 8. Webb Pierce 9. Sonny James 10. Ray Price 11. Faron Young 12. Porter Wagoner 13. Kitty Wells 14. Stonewall Jackson 15. Loretta Lynn 16. David Houston 17. Roy Drusky 18. Don Gibson 19. Merle Haggard 20. Roger Miller 21. Billy Walker 22. Bobby Bare 23. George Hamilton IV 24. Connie Smith 25. Dave Dudley Seems to me that plenty of honky-tonk blues and hillbilly fever were hanging right out there for all to see, side by side with the Nashville Sound and related stuff (Reeves, Arnold, Anderson, Gibson, et.al.). In the passage Terry quotes, at least, Carr seems to have forgotten the dialectic g. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/ P.S. More bluegrass charted in the 1960s than at any time before or since. That doesn't fit well with a flat statement about "couldn't be allowed to be shown in public" either. He goes on and on, but you get the idea. Earlier in the essay, he does point out, as knowledgeable folks on this list have, that the history of country music is more or less repeated attempts to achieve mass popularity, and climb out of a self-imposed definition of folk music (in the folk culture context). The Carter Family, he points out, had a very deliberate image they were trying to project. "That's how the history goes. Almost as soon as the technology of recording and radio made it possible, people began trying to sell the music of the country culture beyond its natural boundaries. And at that point, the approval of outsiders began to matter very much indeed. "If you were a member of the country community who had committed yourself to making a living by selling your music (and thus, incidentally, buying into a particularly competitive division of the American Dream crapshoot), the question of how best to present yourself -- what maintainable image to adopt in the cause of maximum popularity -- become crucial to your economic future." me again -- in a lot of ways these comments apply to the current HNC scene as much as any that came before, though he does come off a little hypocritical. He seems to be understanding, and endorsing, the necessity of country musicians to go outside their "natural boundaries" in order to make a living, yet he slams one period -- the Nashville Sound -- on the same basis. The thing is, I agree with him, even with the seeming contradictions -- and that stems from an arbitrary but no less valid preference, for me, for simple, stripped-down, rural, gutty musical sounds and statements. -- Terry Smith
RE: Clip: Buckner interview from Willamette Weekly
At 4:52 PM -0500 on 3/11/99, Jon Weisberger wrote: People have started lumping you in with the alt-country genre. How do you feel about labels such as these? I think the No Depression [the 'zine] people use it to make money, to make a living, by lumping a bunch of shit together as if it's some sort of fucking movement. I don't like all that crud, and I try to avoid it as much as I can. Sweet. I hope ND and the rest of the crud return the favor. Likewise. And while Dave pointed out one of Buckner's idiocies, there were *plenty* in that interview -- the man really painted himself a fool. His 15 minutes must almost be up, I hope. Bob
Re: The Mountain
On Thu, 11 Mar 1999, Dave Purcell wrote: I'll third that emotion. So far, I'm digging the record, but it's not inspiring me to play it, oh, 42 times a day like new Earle releases typically do. The playing and singing on it are great, but I miss the adventuresome nature of his other records, and some of the songs sound a little forced, like he was trying too hard to write bluegrass classics. Really? Really? You don't find either _Train A' Comin_ nor _The Mountain_ adverturesome? Wow, I find both of them to be much more interesting and diverse both lyrically and stylistically than his electric stuff. Frankly, I'd prefer to never see Steve with an electric instrument or electric band ever again. Both _Train Mnt._ are desert island discs for me while I'd be willing to lose all of his others sans _Guitar Town_. Man-oh-man, I think Steve would have to make an entire album of ELP/ELO covers to be more *out* there than the gamut of songs he included on _Train A' Comin_. NPIMH: Karn Evil #9 - as covered by Steve Earle g Jerry
Re: Bramletts
Randall lives in Athens -- are you talking about him? Deb Yep. Sorry about the mispelling. Just saving my typographer a little time by deleting the L. g -- Terry Smith
RE: Clip: Buckner interview from Willamette Weekly
I understand Mr. Buckner a liitle better now. But I still don't think I like him very much. -- Geff King * [EMAIL PROTECTED] * http://www2.ari.net/gking/ "Don't let me catch you laughin' when the jukebox cries" - Kinky Friedman, "Sold American"
GOOD George Jones News!
From the March 11 USA Today: NASHVILLE--George Jones was sitting up in his hospital bed Wednesday, talking and cussing, and doctors planned to have the country singer walking by the end of the day. "I want to get a tape recorder so bad and tape some of the things he's said in there," says a relieved Nancy Jones, the singer's wife and manager. "But he would kill me." (PS: Personal aside -- I have to testify.) This afternoon I was traveling on the Capital Beltway in MD and remembered that I needed to call a friend of mine. I reach over towards the glove box where my wife's cell phone is... And then I remember, and I stop reaching, and decide to wait. This really happened. -- Geff King * email [EMAIL PROTECTED] * http://www2.ari.net/gking/ "What happens to a society when dreams become unaffordable?" -- Molly Ivins, March 10, 1999
Re: Nic Jones
I've been asked how you can get hold of the recording of Nic Jones live in concert that I mentioned. Go to http://www.lesk.demon.co.uk/pages/search.htm and you'll find the details. Also a lot of interesting stuff and links about Nic and other revival folk singers. -- Iain Noble Hound Dog Research, Survey and Social Research Consultancy, 28A Collegiate Crescent Sheffield S10 2BA UK Phone/fax: (+44) (0)114 267 1394 email:[EMAIL PROTECTED] [EMAIL PROTECTED] ---
RE: Clip: Buckner interview from Willamette Weekly
Sweet. I hope ND and the rest of the crud return the favor. Likewise. And while Dave pointed out one of Buckner's idiocies, there were *plenty* in that interview -- the man really painted himself a fool. His 15 minutes must almost be up, I hope. Bob Hmmm. I don't - _Since_ is great. But like Bob says, there were plenty of foibles apparent in that interview - I winced a couple of times in sympathy for the reviewer. My impression from that review is of an angry guy with a lit, decreasing fuse. Like the songs, dislike the singer? Also - Damon Bramblett's song (off Kelly Willis' new cd) - Kurt Cobain springs to mind, something about the lyrical flow and Cobain's stream-of-consciousness writing. Too simplistic/ obvious an interpretation? "to see that cannonball melt in your mind" started that thought. I guess with the last verse, "grab a tail on this big gray whale", it could be about Jeff Buckley, too. "Heaven Bound" and Buckley's amazing "Grace" - hmmm. Years of lit overanalysis begging to be used... Chris ruined by T.S.E. and W.S. np: Van Morrison's _Back on Top_
Re: SXSW update II
Don't I qualify as an Austinite? I realize I've only lived here for twelve years Or maybe I don't qualify as a P2er... Well, either way, I'll be around and looking forward to seeing everyone everywhere I go. James Hand: Wednesday, 10 PMBroken Spoke Thursday, 6PM Under the Sun Saturday, 3pm Cheapo Discs Asylum Street Spankers Saturday, 1AM Pecan Street Ale house At the request of Barry Mazor, who's leaving shortly for his all-expenses-paid, staying-at-the-swanky-Omni trip to Austin, I'm posting the updated list of P2ers at the Best Li'l CSRF in Texas. Lots of folks piped up to let me know they'd be there after my last call. If you're going and you still haven't let me know, you have until Monday to do so; after that, I'll be gone. Marie Arsenault Austin Motel Junior Barnard I'm sure Junior mentioned where he's staying, but I fergit Doug Baxter and his wife, Christine Doug wisely omitted mention of where he's staying Dan Bentele Austin Motel, I think Rusty Berther (upping the Australian P2 quotient to 2) accomodations ??? Sophie Best staying at Smilin' Jim's Jim Catalano staying at an accomodation to be named later Jim Cox staying in some generic apartment he rented John Flippo Austin Motel Richard Flohil staying at Erica Wissolik's Randi Fratkin staying at Erica Wissolik's Wynn Harris staying at his dad's Steve Kirsch staying at Smilin' Jim's Chris Knaus Meshel Watkins Austin Motel Jake London Austin Motel Barry Mazor Omni Hotel Alex "I Can't Believe I Left Him Off the Last List Since the Party Is In His Room Every Night" Millar Austin Motel Linda Ray accomodations to be determined Jim Roll and Laura Eckenrod staying at a friend's house Bill Silvers Austin Motel Deb "Numbers" Sommers staying somewhere, I'm sure Tiffany Suiters Southard House Jamie Swedberg Austin Motel Stacey Taylor, I think Austin Motel (er, is Stacey still planning to attend? Someone let me know, please.) Jeff Weiss Corrie Gregory Homegate Neal Weiss Colleen Morrissey Austin Motel Don Yates Deborah Malarek staying at Laura Fowler's me and my husband Eric Austin Motel and of course, the Austinites: Jim Caligiuri Jayne Cravens Jim Fagan Laura Fowler (and too, I assume?) Jerald Corder Chad Hamilton Cherilyn DiMond Slim Kelly Erika Wissolik --Amy, wishing I had the energy to make an intelligent response to Todd's and Will's UT posts but too dumbfounded by Neal's casual dismissal of Son Volt to speak. Oh, and Jay is SO cuter than Jeff--get real, Neal.
more off-SXSW
The Hideout (the Chicago club that hosts the Honky Tonk Living Room) is having a party Saturday afternoon at Green Mesquite, and all music lovers are invited, no cover charge. Here's the lineup: 2:00 Jon Langford, Kelly Hogan Champ Hood 2:30 Devil In A Woodpile 3:00 The Blacks 3:30 Freakwater 4:00 Anna Fermin and Trigger Gospel 4:30 Casolando 5:00 La Mano 5:30 Mt. Pilot
Bloodshot SXSW sittin' in a tree...
Hello folks -- Sorry for the mass email, and some of you already have this info -- but here's the final line-up for Bloodshot doin's at SXSW next week. Thanks for everything -- Your press mule Hogan Going down Texas way for SXSW? Well here's the poop. BLOODSHOT SXSW 1999 goings-on: ** ***BLOODSHOT 4th ANNUAL SXSW B-B-Q PARTY *** FRIDAY MARCH 19 begins at HIGH NOON goes til 6 behind Yard Dog Gallery 1510 South Congress 10+ bands playing and FREE BEER! No stinkinÂ’ badges or invitations needed! Each band plays a 20 minute set, beginning at noon, in this order: * Devil In A Woodpile * The Blacks * Neko Case * The Grievous Angels * The Handsome Family * Trailer Bride * Split Lip Rayfield * The Meat Purveyors * The Sadies * The Waco Brothers ** Bloodshot's SXSW OFFICIAL showcases: FRIDAY 3/19 Devil In A Woodpile daytime stage in Austin Convention Ctr.4 pm Sally Timms Speak Easy 8 pm Devil In A Woodpile Scholz Beer Garden 9 pm Split Lip Rayfield Maggie Mae's East 10 pm SATURDAY3/20 The Sadies Maggie Mae's West 12 midnight ** BLOODSHOT RECORDS SHOWCASE * Saturday night at Jazz Bon Temps, 214 E 6th St. (get your barstool early -- the last few years' showcase sold out) # The Meat Purveyors Jazz Bon Temps Room 8 pm # Trailer Bride Jazz Bon Temps Room 9 pm # The Blacks Jazz Bon Temps Room 10 pm # Neko Case Jazz Bon Temps Room 11 pm # The Grievous Angels Jazz Bon Temps Room 12 midnight # The Waco Brothers Jazz Bon Temps Room 1 am ** SUNDAY 3/21 Pine Valley Cosmonauts La Zona Rosaopening Alejandro Escovedo La Zona Rosaheadlining IN STORE PERFORMANCES: THURSDAY 3/28 Split Lip Rayfield Cheapo Records 5pm SUNDAY 3/21Pine Valley Cosmonauts -Barnes Noble 2-4pm acoustic performance with Rosetta WillsÂ’ book signing
Re: twanglife after 50, 60, 70 ...
Jeff Wall wrote: At 06:53 AM 3/11/99 EST, you wrote: T I've got to write a short article about what the lives of famous or historical people looked like at later key ages, particularly after 50 (examples include: Frank Lloyd Wright, Sidney Greenstreet - even Philip Glass, who apparently was a plumber until he hit 40). What about Joe Gracey? He's so old he was telling me about standing on the beach down there in Texas waiting for the Gulf of Mexico to finish filling up. He knows a lot of them really old people too. Billy joe, Willie, Waylon, Cowboy Jack, Moses, Shadrack, Meshack, and Abendigo, etc God-dammit, I'm only 48. However, I look and feel much older so I am able to lie like a much older man. This is useful. I do know many elderly persons in music, however. Did I ever tell you about the time I produced David... -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
African American violin players I worship
Twang-daverius: Here's three people you all have to hear. Now the genre is more contemporary "outside' jazz and not twang, but once you hear them your life will no longer be the same. 1 - Leroy Jenkins: he's in his seventies and can still be one of the most exiting solo players you have ever seen. and he's a sweetheart. You can hear him in Henry Threadgill's Very Very Circus and other out groups. 2 Regina Carter: the queen is a monster. Check her out on the String Trio of New York's Octagon and tell me you know a stronger player. She also plays in Quartett Indigo was featured on a Mark dresser Cd and has done some smooth jazz records, but is happily dumping that last habit of late. 3 Billy Bang: Regina replaced himin The String Trio. another monster. check his duos with Kahil El'Zabar of the Ethnic Heritage Ensemble. Dan Rigney http:/www.moths.com
Re: twanglife after 50, 60, 70 ...
Tom Smith wrote: Brad Bechtel wrote: Clarification needed. Are you talking about folks who hit it big in a later key age (such as Don Walser) or someone who hit it big early, but have continued to make vital contributions to their area of expertise (such as Bill Monroe)? I think they're most interested in folks whose careers either took off or changed radically later in life (e.g. Walser). TS Willie. -- Joe Gracey President-For-Life, Jackalope Records http://www.kimmierhodes.com
Coming to Town: Prine, Lucinda, Lang
Howdy, Here's another message chunked over the wall. For those of you with a hankering to visit the Scruffy City... Concert tix for these shows in Knoxville go on sale this Saturday: John Prine ... April 16 Lucinda Williams ... April 29 Jonny Lang ... May 2 All shows are at the Tennessee Theatre. Start time is 8 pm. Ticket information is found at www.concertwire.com Take care, Shane Rhyne Knoxville, TN
Re: Let's Active cover on Friends
tell me about Let's Active, if you would be so kind. she of boundless ignorance, lr
Re: Bramletts
I feel guilty because I don't know more about the Bramletts than I do, but. Delaney and Bonnie Bramlett used to be married. Delaney has a new disc out. His voice is shot to hell from all the liqour, dope, and cigarettes, but it still ain't bad. I ain't sure what Bonnie is up to. Bekka, their kid, had a rekkid out, Country Music, Nashville Style. What a waste. Bramlett and Country don't really work. That's a soul fambily. Word I hear is that she is working on a new album that is more soul driven. Delaney and Bonnie were right in the middle of that whole Macon-Muscle Shoals scene. They recorded one of the greatest acoustic albums of all time, Motel Shot, out of a motel room. They invited their friends to come play and have fun. Friends like Duane Allman and Leon Russell. They were so amned good together that even Clapton (before he sucked) toured with them. Bonnie was a regular guest vocalist on a lot of Southern Rock and Soul work in the 70's. Her and Delaney are divorced now. I think they have a son in the music bidness, but I ain't rightly sure. I don't believe Randall Bramlett is direct kin, but I could be wrong. I hope and pray that one day that whole Macon/Muscle Shoals scene will be throughly documented in a box set and/or a book. Hell, The rise and Fall of Capricorn Records or the whole Allman Bros scene would make a damned good movie. Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
Re: Let's Active cover on Friends
In a message dated 3/11/99 9:24:51 PM Eastern Standard Time, [EMAIL PROTECTED] writes: tell me about Let's Active, if you would be so kind. she of boundless ignorance, lr Mitch Easter's band from North Carolina. Mitch recorded early R.E.M. at his Drive In Studio in Winston Salem, NC. put out an EP on IRS and a number of subsequent albums in the 80's. Different members -- Sara Romweber, Angie Carlson, Eric Marshall, etc. . . think they've done some recent stuff but I've lost track. Several Athens connections -- Guadacanal Diary, etc.
RE: Bramletts
I saw Bekka in October '98 at Barbara's in Printer's Alley. She just walked in to jam for a little bit. She has a rockin' voice filled with soul. Her Mama would have been proud. A lot of Tina Turner influence - just happens that Tina and Bonnie are close friends. Bekka had just come off the road from touring with Billy Joel. And last I heard she was singing backup with Travis Tritt. That's all I know,Kat
Re: Bramletts
In a message dated 3/11/99 9:55:30 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Bekka, their kid, Wasn't she also in Fleetwood Mac for a while too?
Re: Bramletts
In a message dated 3/11/99 9:41:03 PM Eastern Standard Time, [EMAIL PROTECTED] writes: I hope and pray that one day that whole Macon/Muscle Shoals scene will be throughly documented in a box set and/or a book. Hell, The rise and Fall of Capricorn Records or the whole Allman Bros scene would make a damned good movie. Well, Jeff to cheer you up -- the demented Patterson is working on a rock opera about the lore of Lynyrd Skynyrd and other 70's southern rock n roll bands g. And his daddy, David Hood could fill you in on the whole scene was part of the Muscle Shoals Sound Rhythm Section, member of Rick Hall's Fame Studio before he and others went on to form their own studio Muscle Shoals Sound. Your idea would make a good book or movie. I've been reading tons about the Allmans and others while doing my research. And I really did sleep in Duane Allman's bed g (the Big House in Macon is now a museum and BB). As for Randall being related to Delaney and Bonnie -- I've always wondered that myself. Guess I'll ask somebody. I know he's been around Georgia, Athens, Macon, and Alabama but playing with Sea Level, Traffic, Steve Winwood, and his own band for a long time. I'll try to remember to ask. Deb
Re: Bramletts
Oh, one of the things I remember reading about Bonnie was that she had worked as a backup singer for Ike and Tina Turner -- an Ikette -- wearing a wig and blackface. She also punched Elvis Costello in a bar somewhere in Ohio for calling Ray Charles a blind ignorant nigger. I think she's boss. Deb
Re: SXSW update II
Don't I qualify as an Austinite? I realize I've only lived here for twelve years Or maybe I don't qualify as a P2er... Well, either way, I'll be around and looking forward to seeing everyone everywhere I go. Erm, the omission was purely unintentional, John. I left off a few other Austinites the first time too. And hey, at least I didn't get your gender wrong, as I did with Wynn Harris. --Amy
RE: Bramletts
At 09:54 PM 3/11/99 -0500, you wrote: Bekka, their kid, had a rekkid out, Country Music, Nashville Style. That's not a terribly good description of Bekka Billy, IMO. Well, I should've taken a second to think before posting that. I haven't heard that album, I was just *told* by someone that it was a country album and that it didn't work, I just can't see any of the Bramletts doing country, even the Hot New kind. What a waste. Bramlett and Country don't really work. Depends on who you ask. Not that "Country" is a good description of the album (see above). My bust as I have not actually heard her album. Irresponsible music critisim on my part. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/ Jeff Wall http://www.twangzine.com The Webs least sucky music magazine 3421 Daisy Crescent - Va Beach, Va - 23456
Re: Let's Active cover on Friends
In a message dated 3/12/99 3:13:28 AM !!!First Boot!!!, [EMAIL PROTECTED] writes: Now, back to my question...who did that cover!?!?!?!? Paul No Paul, I'm a pretty big fan of The Who, and I'm sure that they have never recorded "Every Word Means No." Mitch Matthews Abbott Train/Costello Road np: Bryan Bowers "The Scotsman"
Re: twanglife after 50, 60, 70 ...
TS wrote: I think they're most interested in folks whose careers either took off or changed radically later in life (e.g. Walser). no twang...no music...off subject? how 'bout Grandma Moses? Paul np: Ernie Isley - "Let's Go"
Re: Bramletts
In a message dated 3/11/99 9:06:47 PM Central Standard Time, [EMAIL PROTECTED] writes: She has a rockin' voice filled with soul. Her Mama would have been proud. My brother worked for Almo Sounds in Nashville for about a year. He was on the radio promo tour with Bekka and Billy (Burnette, of the famed Burnette family). From what he told me, Bekka's mama would have been proud of her road partying - a very Rock n' Roll lifestyle (nudgenudgewinkwink). I think she and Billy hooked up when he was in Fleetwood Mac, don't know if she was a real member or not. Slim
Re: insipid SPIN on Wilco
Dave Purcell wrote: No wonder I cancelled my subscription to SPIN. Here's the first paragraph of their Wilco review, forwarded to me by a pal (and intended to piss me off, though it didn't because SPIN is such a joke). *** Jeff Tweedy is a big daddy in the alternative country movement, half the heart of original No Depressives Uncle Tupelo. While he's forged ahead with Wilco, his children have made mostly silly records, PBS country for people embarrassed by The Nashville Network. Wilco, meanwhile, managed to make the only masterpiece the genre's produced so far: Being There, which took Peter Laughner for a ride, picked up the Rolling Stones near Appalachia, and headed for a rendezvous with Neil Young in the Hotel Arizona. *** Oh Dave. See, they are so cool at Spin that they can write self-referential satire like this, knowing it will sail right over the heads of non-hipsters like yourself. It is satire, right? No one really writes this old disc jockey patter seriously, do they? Stuart NEW! IMPROVED!!
Re: Bramletts
On Thu, 11 Mar 1999 [EMAIL PROTECTED] wrote: She also punched Elvis Costello in a bar somewhere in Ohio for calling Ray Charles a blind ignorant nigger. Glad Deb mentioned this. Even if she'd never been a great single I'd always think the best of her for having done that. Will Miner Denver, CO
Re: Bramletts
On Thu, 11 Mar 1999 [EMAIL PROTECTED] wrote: She also punched Elvis Costello in a bar somewhere in Ohio for calling Ray Charles a blind ignorant nigger. Glad Deb mentioned this. Even if she'd never been a great single I'd always think the best of her for having done that. Will Miner Denver, CO I remember hearing this story 10 or 15 years ago; I think the town was Columbus, but I could be mistaken. The record I best remember Delaney and Bonnie's work on was that classic Clapton solo record -- one of his first as a solo artist -- with "Let It Rain" on it. I love that song, even when Johnette N., from Concrete Blonde, is singing it along with Steve Wynn et al. -- Terry Smith
Re: Bramletts
On Thu, 11 Mar 1999, Terry A. Smith wrote: She also punched Elvis Costello in a bar somewhere in Ohio for calling Ray Charles a blind ignorant nigger. I remember hearing this story 10 or 15 years ago; I think the town was Columbus, but I could be mistaken. Try 20 years ago, as I recall. I think it was the piss-you-in-the-face tour he did for "Armed Forces" back in 1979. He was doing everything he could think of to be an asshole on that tour, including playing a 45 minute set from start to finish for which people had paid $15 or $20. Just reveling in that rock n roll feeling of which we're all so enamored. There were a lot of people who were with Bonnie in spirit when she punched him. Will Miner Denver, CO
Re: Bramletts
Bonnie had a bit part (several episodes) in the sitcom Roseanne. She sang in their local drinking establishment with David Crosby.
Re: Bramletts
In a message dated 3/11/99 11:00:08 PM Eastern Standard Time, [EMAIL PROTECTED] writes: I remember hearing this story 10 or 15 years ago; I think the town was Columbus, but I could be mistaken. Try 20 years ago, as I recall. I think it was the piss-you-in-the-face tour he did for "Armed Forces" back in 1979. He was doing everything he could think of to be an asshole on that tour, including playing a 45 minute set from start to finish for which people had paid $15 or $20. Just reveling in that rock n roll feeling of which we're all so enamored. There were a lot of people who were with Bonnie in spirit when she punched him. yeah, it was 1979 -- I think she was touring with Stephen Stills and I'm pretty sure it was Columbus. Deb Sommer
